Poorman 1996
Poorman. 1996
Art Bite by Stephanie Beth
13/08/2020 (2026 updates in the Reference section)
Art Bite by Stephanie Beth
13/08/2020 (2026 updates in the Reference section)
fibreglass mannequin, dinner suit, hairpiece, inscribed name badge, on stand. Size: 185 x 76.5.
In this talk I cover ideas about concepts of the ordinary as a place where this artist, Michael Parekowhai positions himself. That’s him, basically, in a nutshell. He positions himself in the ordinary. He is a Contemporary artist. He motivates participation. That’s why there were sparrows on plinths and bunny rabbits as large inflatables some years ago. Sparrows and bunnies are everywhere in New Zealand. They skitter about outside. Common Ideas with pop overtones. I wish I had seen State house (The Lighthouse) on the waterfront, The wooden house simulated with the great big, The English Channel (2015), Artwork, a shining polished stainless steel larger than life pensively thinking Captain Cook, sitting inside the building in his topcoat, little Mataariki Lights glistening everywhere. Yeah, I wish I had seen The Lighthouse - mostly because so many people seemed to object. Not seeing stuff shows viewing as being lazy. To keep up with Art you have to get to the other New Zealand towns too. You have to get to Auckland. There are other cities that artists' works get put up in - other cities further away. That’s the key to big Art Stories. Thousands get to see art in big cities. At least be Australasian. Hence, a big retrospective of Parekowhai in Brisbane in 2017, The Promised Land. Venice is a spectacle for millions, remember. If you don’t go to those other places yourself, you’ll just have to read the books or wait for later tours. Hence, lucky for us, the bull outside on the piano. But did you hear the red piano playing? Did you hear waiata in Italy?
Well, let’s take the view, vis vis The Lighthouse, that small mindedness is objectionable. That State house (Lighthouse. 2017) near the Quay in Auckland, on Queens Wharf was really something. This was a great piece of Art rewriting about it on a Robert Leonard blog by Parekowhai himself. Good on him. He nailed it for me. I grew up on a sheep station, Pākehā girl. My dad built his own house on land in the ‘30’s, happy to have a hearth, a tool shed and a henhouse. Dad built his own caravan in the garage. Way down the track in the early 1990s, we bought a renovated state house. I have a little of mum’s china and I have her piano stool inside. I get the two storied building with one bathroom. I get the Whanau vibe.
Public Art’s role is to be bigger, conceptually, than domesticity where crafts and affections, and, yes, Arts arise. Parekowhai wrote in 2015. We all have a home. We all have an internal headspace. (1)
Parekowhai said of that commissioned work, Lighthouse (therefore, also of himself, his perceptions:
Our living marae is really our suburban family home. It is a 1960s two-storeyed brick-and-tile house with five bedrooms, four toilets, and a carport that can hold a trailer and a caravan. That’s how it is. That is the marae I know, that’s the meeting house I know. Our house is not decorated with taonga. We have TVs, a radiogram, some Copenhagenware crystal vases, beige Berber carpets, and central heating instead. We have been taught that being Maori does not necessarily depend on physical things or the traditional symbols to express itself. Being Maori draws upon all that’s around you so that we might understand its underlying spirit.—Michael Parekowhai (2)
There was a lovely piece of journalism about the opening of The Lighthouse in Auckland in 2017,
On Saturday 12 February, hundreds of Aucklanders gathered at the artwork’s public unveiling to enjoy a late summer evening with guided tours, a limited- edition gift from the artist and performances by New Zealand musicians including Anika Moa, Marlon Williams and Lawrence Arabia, playing inside the house as if in their own living rooms. (3)
To cap it, to start with here, during every day of the Twenty First century, a lot for this master artist, Michael Parekowhai, has been going on with panache, energy and good faith.
We are going to settle now for a small job. This work, Poorman, is quite old. Made in 1996.
Take a small journey I am making here through sculptures of one artist.
Prior works put Parekowhai at the still young man stage. He had done things with cuiseinaire rods, pick up sticks, monumental scale yellow play blocks. There was the seal and the bike one, the piano one. Then, piano two and three- the Jane Mander one and the bulls with pianos. That was a huge event in 2011.
Basically, as he gets older, he makes his references smarter, maybe more complex.I did like Detour, (2018), for example. I saw that twice. That is a real run through confrontation with the National Art collection at Te Papa. Playful. Scaffolding and an elephant in the room for impact. Monkeys there. Mr Plod, straight out of Enid Blighton…..Those Schoon photos of Rotorua mud? Oh, and what about the waistcoat?.... commissioned from Karen Walker? So, so …. oh, and did you see the dust, even , in the Large Glass miniature?
Why I have started with The Lighthouse, is that it is a good way to settle upon thinking about post 1950 Nz. We have so often been reminded that, really, after wars has been the time of looking for turning points. Parekowhai is an artist who has inherited a role as a public artist. Follow him to look into New Zealand Society and what artists do in 3D with ideas and materials.
This mannequin is called Poorman, from the English counting game. I have seen it used in different placements here twice now at Te Puna o Waiwhetu. Last time he was in a game prototype room for Simon Denny: Founders Paradox. Poorman is one of our, kind of, hosts. Has it crossed your mind? Politely?
Yes , a mannequin. We all got used to them first, I suppose, when we went to town and walked past Department store window displays as small children. It’s always a bit uncanny being so close to one with no glass between. Yet, now he is almost like a piece of us.
Except, watch it. Don’t bump into him.
Google says:“Tinker, Tailor” is a traditional nursery rhyme and a fortune-telling dating back to late 15th century England. The oldest form of the song can be tracked to 1475 in a line of a rhyme called The Game and Player of the Chess by William Caxton and only later on in 1695 it appeared in a more compact form. It was first published in a nursery rhymes collection in the 19th century as a counting song.Another citing adds to this 19th Century interpretation,”Song for children. It is popular to sing it in a game of tag to determine the person who will be “it”. (4) Then, even more specifically, the "tinker, tailor" rhyme is one part of a longer counting or divination game, often played by young girls to foretell their futures (5)
The artwork is a mannequin. Taking this last tack then, we are looking at a mannequin of a prospective suitor for a young woman or man. Well, does he match up? Does he fit the bill?
Consider then, a male Maori artist, born 1968, practicing in fast track with, kind of, Western curatorial approval by the 1990s. He was looking around for a few tricks to pull out by which to push at a society raised on Te Tiriti lore and wanting really hard to stay in his head and not anyone’s presumption. Biculturalism was still system shaping in clandestine ways along the lines of Maori and Pakeha separations vis a vis health and education mid Twentieth Century New Zealand. Parekowhai, born Pākehā and Maori, chose to get into Art. Michael PArekowhai entered stage Art with a hop and a step. He has been interesting to watch as he flew into the new mainstream of facing up to real and inclusive Maori and Pakeha relations inside the Art world in our Aotearoa inc. propositions of the current day.
This mannequin stands this time, by way of fresh thesis, ( by rights of the curatorial thoughts) , in the doorway of the TE WHEKE bay that holds older stuff. This artist, Parekowhai , has prestige as a contemporary artist. Fifteen years after this sculpture was completed he was the artist representative for the Venice Biennale from New Zealand.To use the New Zealand Art Commissioner, Jenny Harper’s words of the time of 2011, as a contemporary artist, Michael Parekowhai ” contributes to some sense of lasting national impact” (6) Parekowhai nailed it in Venice.
The work we are looking at here was made in 1996. Harper’s comments were in the forward for the International Venice 54th Biennale booklet on , On First Looking into Chapman's Homer , an installation of which the bull downstairs is a title taken from a sonnet reference John Keats wrote eulogising Homer. That brings to mention the Pacific Ocean as it might have first been viewed from Panama by Cortez. Harper had written for that forward that Parekowhai,” jests and engages”. For the time being , hold the thought about a bull and a piano conjoined.
Before we get into territory, a statement is interesting from Robert Leonard, art writer, remembering time and place in art History in Auckland at an Art Fair thirty years ago. Listen to the density in this piece sounding like a tide change( this year’s one didn’t happen this year because of Covid ). He wrote just in early 2020 in the blog, Thirty years ago, on Contemporary Art writing:
It ( the 1990 show ) was the first gallery outing for Lisa Reihana’s iconic anti-racist video Wog Features, with its kids-TV-style stop-frame animations. And, crucially, it launched Michael Parekōwhai, still an Elam undergrad, with his cool, show-stealing, conceptual-art word sculptures. He would prove to be the show’s big discovery. Throwing caution to the wind, Hubbard and his Pākehā collaborator Robin Craw penned a provocative polemic to accompany the show—‘Beyond Kia Ora: The Paraesthetics of Choice!’—warning that Māori art risked becoming ‘merely an ethnological echo of a hyper-historicised culture’. It was never clear exactly who were the targets of its shotgun arguments—presumptive Pākehā or the Māori-art establishment itself—but there certainly was a lot of smoke. (7)
The work, this 1996 one, (Poorman) is one of three in a series, Poorman, Beggerman, Thief , a fibreglass set of mannequins in dinner suits, hairpieces, shoes, with inscribed name badges, on stands. Sizes: 185 x 76.5 . And this one, Poorman, has it’s home here at Te Puna o Waiwhetu, Christchurch Art Gallery, bought with the support of the Christchurch city council challenge grant to the Christchurch Art Trust in 2011. I met it first, actually, lying in a wooden crate in the gallery Conservation room. It had got a small tear, or something, on its eyelash. (Te Papa bought Beggerman. ) Each mannequin carries a label, Hello my name is Hori. Hori is a generically popular Maori name. It translates to George in English. I met a man just the other day who looked closely at this one and then said,” my Dad is Hori”.
The mannequins arrived first to the public after a sculpture, Before Elvis there was Nothing (1994) Before Elvis there was Nothing, was a riff , a John Lennon line Parekowhai scribed as a graphic onto a vast vinyl billboard projection of a 1962 photograph taken by Ans Westra. It was of a cluster of primary school Maori boys hamming up as a rock band. Before Elvis... was followed by Patriotic:Ten Guitars (1999) So, this series of mannequins fit in between two late 1990’s works , all accounting as presages or key thought associations the artist has played with vis a vis 1950’s and early 1960’s era perception, the years just before Parekowhai was a baby. It is a particularly relaxed approach, this cluster of late 1990’s works. An approach, for Parekowhai, of smart playfulness , an attitude I wish to praise. This artist has been a joy for critical scrutiny. Curator and writer Gregory Burke pinpointed Parekowhaei’s ear for pop culture in his writing . Take a song on the B side of an Engelbert Humperdinck record, Ten Guitars. That song secured popular status in the late 1960’s. Burke pointed out that Parekowhai established his voice as an artist of Maori and Pakeha descent by applying persistent lighthearted irony into his art practice. Parekowhai is actually a dynamo art performer.
Have you seen an image if not the real presentation of the ten sculpted guitars? I was born twenty years before Parekowhai. I have glimmers of recall of musical social life of the 1950’s and 60’s. I sure remember the new suave image of male. Out at Titurangi was a dinner dance I attended in 1967. Men in black suits in every corner.
I grew up in the country in my childhood where songs could be heard … I was aware, surreptitiously , after an annual sport event in the village, for example , of laughter, chuckling and guitars - out over at shepherd’s properties, a Leopard brewery crate on the ground… My folk were more crooners and whistlers, Irene Goodnight, goodnight or Beautiful Brown Eyes... I’m dreaming of a White Christmas….Burke has written about the static installation, Patriotic: Ten Guitars. (1999)He saw how the work “implicitly acknowledges Maori show bands of the 1950s and the importance of Rock and Roll for young Maori in the early 1960s.” as precursors.Patriotic:Ten Guitars, “presented as silenced and rarified objects, disengaged from their potential to bring people together through song” (8) The men in music, the men in black suits in the dinner bands harken me back to those times for recall. These mannequins, I get it. Later, we all caught the catchiness as we linked washes of sonnet or verse from England in 2011 into his last big portmanteau pastiche at Te Papa. It is by this manner that Parekowhai reveals to us the Aotearoa shores. He has a license to bring up the shadows in the Promised Land. And thus, we the readers of Art bowed to the Duchamp flourish with readymades when Duchamp moved to York in 1915 suffering ill health. Duchamp became Parekowhai’s talisman, and thjs work, actually an undergraduate work, a kind of TE WHEKE, just as he was in Founders Paradox, a gentle host. (It is being packed away next week)
Marcel Duchamp influenced Parekowhai, mentoring him towards tactics by which this artist executes concepts with confidence and a laugh. Duchamp was to Parekowhai “his Art School portal”, he told Australians in 2015. (9)I had been educated to know that this French/American Dadaist was mightily enjoyed. I had seen Duchamp’s urinal (Fountain), in 1972 in New York, knowing from that time, after a bit of wide reading, that that man preferred chess to being an artist. By the later 1970’s, I had thought a little more about him. In 2008 I started researching a film to make about game play. When I saw some early objects for play by Parekowhai in the Simon Denny: The Founder’s Paradox, exhibition last April, 2019, a very stimulating Installation punning at Utopian ideals and other zeitgeist moments using games prototype paraphernalia , I realised I was actually seeing five scatterings of Paekowhai that I had missed out on in years when I took a long absence from 2 and 3 D art worlds. Denny called in both Poorman and Beggerman for his show and not only these. He called in the Marquette, Kiss the baby goodbye(1994), the work that defined confrontation of non indigenous artists using appropriating symbolic signage by indigenous. Denny, pupil of, then mentored by and by then probably collegial with Parekowhai, carried a vigour well passed to him by his teacher predecessor. This is what Parekowhai is giving us - vigour in concepts that are, though static, mentally performative as triggers.
So, I have seen this mannequin manifest twice within under two and a half years in quite different settings. Yet, there is play and then there is play.
We are in the Western tradition, first half of the equation here. There’s this thing to think about. Sculpture. The classical, then the expressive, then the abstract, then the modern. Here we are with this, the Contemporary, the crossing back and forward over sight and eyeliners, nothing to do with time as a chronology.
Creativity is premised upon enough happenstance for different connections within play to occur.
I have been stimulated and excited by the adeptness of Parekowhai to connect to veins of paradox. He balances just that much seriousness with a great deal of brilliance. It was a rare step taken very soon after one solo show, that one of his MFA graduation from Elam Art School in 2000 had impact on a significant curator in the Govett Brewster who picked him up immediately for a show, whereby he drove with a truckload of goods from Auckland. Within fifteen years from first launching, he had a major show at the Contemporary gallery in Brisbane. This was The Promised Land in an iteration in Queensland in 2015. This is why we look at anything we can of Parakowhai. He is a deft bridge builder. And, by the way, singing has always been a win-win for him.
Probably we all now know of Parekowhai as an International success. What draws me back to this work then, a work having thirty years of existence? This is the type of pursuit my Art Bite takes.The privilege is to be given time to sense, respond and consider the contribution of art to culture and society. This is a chance to have a sensibility for the pressures on men.
I sometimes think about how Biologists may have the best and truest of times. Biologists may stay the whole of their lives with clarifying truths. They look at survival of the fittest and mutations. The rest of us, if you give that thought a moment, ramble and meander around chicanery and fickle truths as we look for essence. There are words, there is misinterpretation, there are cover ups and outright structural assumptions. With context then, Poorman, Beggarman, thief, an English children’s game round probably not written too far either side of Henry the Vth deciding to forsake the church. The idea of girls playing so as to designate potential suitors is very tonal. A novelist, Irwin Shaw, (1913–1984) an acclaimed, award-winning author who grew up in New York City and graduated from Brooklyn College in 1934, wrote a pair of novels titled, Richman,Poorman and Beggarman,Thief. The story is a saga about two sons living between World War II, Vietnam and beyond. “They’re in their teens in the 1940s, too young to go to war but marked by it, nevertheless. Their father is the local baker, and nothing suggests they will live storied lives.” (10)
Cultural templates are laid down as motivators. Creative thinking is a thrill.Oranges and Lemons. ... I still remember the buildup of excitement as we children all prepared to yank a victim from a line and cut off a head. Think of energies in languages as these exist for Artists. We have had our births, childhoods and young adulthood’s. We have faced facts, struggles and disparities. In our mid adulthood, what do we do? For Parekowhai it was to go off and become a conceptual artist. And first he had to move through design, sculpture and position his Maoriness and his Englishness in this endless dealing he would have with being, what he once said to Robert Leonard,the ongoing. Basically, being Maori and a White boy.
We need to remember when Anthony Wright, then curator of Canterbury Museum, took such umbrage in 2002, when the SCAPE presentations of Parekowhai’s Bunnies were rejected from the Christchurch square. This was a town with a public that didn’t seem to grasp the nuances in Contemporary Art in public spaces twenty years ago.Due to fine art defence, in 2013, using firm resistance to hoo ha, on the part of the public, a public art support Organization, in 2013, stepped forward to aid this gallery acquiring On First Looking into Chapman’s Homer.
So, Tinker, tailor, soldier,Sailor. What goes through the minds of children when they play games?
As a little girl I remember idling with my closest cousin in long grasses in summer. We both were raised on ditties. On our backs we would chant the rhyme as we picked filaments off stalks of fescue grass. My cousin always said she was going to be a doctor. That translated, for us country girls as, when we get out of the country what we would do with our lives including who our suitors would be. She got to be a hospital theatre nurse. I got to pick a teacher. For the time being, my childhood body was often administered by dabs of cotton wool, sticks stuck in my mouth for thermometers- I had to lie still- and red ink for Mercurochrome on the old cottage bunk by the sea. The same man who told a group of us the other day , when he looked at this mannequin said to us reflectively, "I was worried about being a Poorman”.
This sculpture, its technical execution fiberglass and automotive paint.
As sculptors go, Parekowhai is first thought about for having addressed and got rid of the sculptor's plinth. Most amazing was the coloured posts he arranged with little rabbits on top. Another was a pun on snap assembly or objects on rectangular frames such as a model airplane lover buys to put together one warm evening - hanging that tiny plane from the rafters.
Another feature of Parekowhai is his acumen with fibreglass and automotive paint Regardless of the season, it places him within a certain cluster of sculptors using materials. What for though? My most recent insight is from Sydney.
But did you go up to the TOI opening at Te Papa in 2018. The contemporary repositioning at the New Zealand National Institution? The 1958 Northland triptych by Colin McCahon was there. A fiberglass elephant straddled atop that work i.e, the elephant in the room).2018 at Te Papa at the major Toi extension floor built on level five, this assemblage - commissioned assignment for which Parekowhai decided to contest icons stored up in the Te Papa Gallery archives. Did you go and see this? Did you note the Duchamp, the Theo Scoon, the Karen Walker commission by Parekowhai of a period piece made waistcoat? Did you note the monkeys as well as the elephant and Constable Plum Bob, who, by the way, is a likening to some of our childhood memories of Enid Blighton’s Mr Plod? By now you will get the point that you can’t keep up with Parekowhai without lightening up and enjoying the flights of fancy. It’s touching, what he does. In 2018, Parekowhai , as a senior lecturer in the institution that trained him young, indicated to me his established prescience in his installation works. I see a real pleasure he takes in playing the systems act, keeping free to place exclamation marks in the atmosphere of serious culture. That 2018 exhibition contains one of Duchamp portable suitcases, by the way. The Bride Stripped Bare by the Bachelors, Even, or commonly known as, The Large Glass, made between 1915-23, standing nine feet high, abstract art with glass, metal foil and dust. and then made portmanteau. * Well, The Bride Stripped Bare by the Bachelors, Even, was certainly giving out adult paradoxes. Any of us who went to Art school in the mid twentieth century were confronted by it. Then, just as now, giving off the longing of the male for the sometimes -unattainable female. There is a sweetness in this man Duchamp’s work. Do we think enough about that? There is real insight in this original English girl’s game being a divination game. (11) My generation was still doing it as children - imagining relationships of the future, lying in the field with ryegrass. Then there was the 2011 English spy story in film(11a) Whilst Duchamp created The Large Glass with gases.
Maud Page is the curator who astutely learned by watching Parekowhai sleuth for ideas on a walk with him one day. Page alerted herself (now me) to what inference big bunnies, sparrow and state houses have had on the social mind of New Zealanders, wrote: I showed Michael around the museum to look at what might take his interest. I thought he might like to look at carvings. What took his fancy was some tatty taxidermy: a kangaroo and a wombat '(12).
Bang bang! Two large bunnies, Cosmo and Jim Mc Murty. Missed! (12a)
The big red piano became one of five installation elements in the New Zealand Art entry to the Venice Biennale in 2011. He Korero Purakau mo Te Awanui o Te Motu 2011. Parekowhai critical assembly was a play on the Jane Mander's novel, A story of a New Zealand River. (1920) What had been a black Steinway piano was carved and made red. We look, in this Art bite into capacity. I first reference allusion only here when I note a well phrased summation from a writer for the Brisbane Art Gallery: His sculpture is,‘Spectacular in appearance and complex in its allusions’ as he subtly navigates the salient cultural phenomena that surround Contemporary indigenous identity’ (13)I hold back on seeing Parekowha in the rocket lane. I align myself with Robert Leonard. Parekowhai is not a stardom seeker. We have an astronaut by Parekowhai now. And, in his exhibition And When we Dream. (2015) at Sydney (2018), also, Queensland (2016) gender imperatives have faded away. **
The Lighthouse, mentioned in this talk, was commissioned by Barfoot &Thompson. On First Looking upon Chapman’s Homer, was supported by Toi Creative New Zealand, Poorman, here, is a student Parakowhai , a real young deal. Adieu Poorman. Thank you for hosting us one more to what is now TE HEKE. We look around and take compasses here with our health passions and vulnerabilities. We value your guidance as an artwork, one about the non-human.
I bought a copy of Headlands. Thinking through New Zealand art, 1992. It was a publication for Sydney. I didn’t read about the Art. I had moved into cinema, the world that Roger Horricks wrote about. I was aware that the pakeha curatorial world was hungry for a handle on post-modern material in the 1990’s though. I draw your attention to Robert Leonard, Art writer over these last decades. You may enjoy expanding upon his thoughts.
The boot en valise, the small suitcase acquired from New York of famous Duchamp miniatures by the National Gallery of New Zealand in 1983, really got Parekowhai going with his ongoing vision about Art collecting in this county. As a public art collector, Jenny Harper is to be remembered for sensing how much Parekowhai wishes to be a caring thinker for whanau, culture and heart. ***
Kia Ora.
* https://www.philamuseum.org/objects/54149
** https://www.roslynoxley9.com.au/exhibition/the-promised-land/h9cy4#:~:text=The%20Promised%20Land%2C%20Queensland%20Art,%7C%20Gallery%20Of%20Modern%20Art&text=Michael%20Parekowhai%20When%20We%20Dream,Roslyn%20Oxley9%20Gallery%2C%202018&text=Group%20Show,Roslyn%20Oxley9%20Gallery%2C%202016
*** https://en.wikipedia.org/wiki/Jenny_Harper
2012
Note. Jenny Harper was the Christchurch Art Gallery curator when the gallery was forced offsite due to repairs required from the Christchurch earthquake. Harper as the
commissioner for Parekowhaei at the 2011 Venice Biennale.
https://creativenz.govt.nz/news-and-blog/2022/06/15/02/24/43/michael-parekowhai-exhibition-opens-at-the-2011-venice-biennale
2013
Story
Mark Stocker, Sculpture and installation art – Māori sculptors, Te Ara – the Encyclopedia of New Zealand, https://teara.govt.nz/en/interactive/41986/michael-parekowhai-at-the-venice-biennale (Update accessed 2 May 2026).
Story by Mark Stocker, published 24 June 2013. https://teara.govt.nz/en/interactive/41986/michael-parekowhai-at-the-venice-biennale An interview about The Bulls. Harper https://www.rnz.co.nz/concert/programmes/upbeat/audio/2524131/jenny-harper
Story by Mark Stocker, published 24 June 2013. https://teara.govt.nz/en/interactive/41986/michael-parekowhai-at-the-venice-biennale An interview about The Bulls. Harper https://www.rnz.co.nz/concert/programmes/upbeat/audio/2524131/jenny-harper
Bibliography.
https://www.metromag.co.nz/arts/arts-art-city/how-influential-artist-michael-parekwhai-is-transforming-te-papa
Referencesthe Promised Land. Michael Parekowhai. The Queensland Art Gallery Gallery of Modern Art. Brisbane. p 22. 2015.https://robertleonard.org/3.https://ourauckland.aucklandcouncil.govt.nz/articles/news/2017/04/welcome-to-the-lighthouse/4. https://allnurseryrhymes.com/tinker-tailor/5. Google this6 Parekowhai. M. On First Looking into Chapman's Homer. Forward. Michaell Lett and Roselyn Oxley Gallery 2011. Roslyn Oxley Gallery. Queensland Contemporary Art. 7.https://robertleonard.org/8.https://www.amazon.com/Rich-Man-Poor-Beggarman-Thief-ebook/dp/B00GSE3XO9. https://www.artgallery.nsw.gov.au/artboards/duchamp/duchamps-legacies/item/9vvco0/10. https://www.google.com/search?q=to+ker+tailor+soldier+sailor&rlz=1C9BKJA_enNZ734NZ737&oq=to+ker+tailor+soldier+sailor&aqs=chrome.69i57.7189j0j4&hl=en-GB&sourceid=chrome-mobile&ie=UTF-8 11. Refer Philadelphia Museum. https://www.philamuseum.org/objects/54149*; https://en.wikipedia.org/wiki/Tinker,_Tailor11a.https://offscreen.com/view/tinker-tailor-soldier-spy12.Michael Parekowhai. The Promised Land. 12a. https://christchurchartgallery.org.nz/collection/2011-250/michael-parekowhai/cosmo-mcmurtry https://www.stuff.co.nz/the-press/christchurch-life/72706271/how-christchurch-went-from-culling-rabbits-to-a-quiet-public-art-renaissance**13. Michael Parekowhai - Art & Prints for Sale | Artsy
------------------------------------------------------------------------------Footnotes.New Zealand Herald. January 17.2017https://www.newsroom.co.nz/2018/06/08/114112/toi-arts-cage-rattling-futurLighthouse 2017.
Sculptor Michael Parekowhai's $1.5 million work entitled The Lighthouse, designed to look like a classic Kiwi state house. Parekowhai placed 10 small chandeliers representing the stars of Matariki, which guided early Maori navigators. **See the Rabbit. 2002. story. The exclusion of the Parekowhai Inflatable Rabbits was the beginning of SCAPE public Art. Canterbury Museum director, Anthony Wright, was furious that these sculptures were rejected by the city council.https://www.stuff.co.nz/the-press/christchurch-life/72706271/how-christchurch-went-from-culling-rabbits-to-a-quiet-public-art-renaissance
https://www.metromag.co.nz/arts/arts-art-city/how-influential-artist-michael-parekwhai-is-transforming-te-papa
Referencesthe Promised Land. Michael Parekowhai. The Queensland Art Gallery Gallery of Modern Art. Brisbane. p 22. 2015.https://robertleonard.org/3.https://ourauckland.aucklandcouncil.govt.nz/articles/news/2017/04/welcome-to-the-lighthouse/4. https://allnurseryrhymes.com/tinker-tailor/5. Google this6 Parekowhai. M. On First Looking into Chapman's Homer. Forward. Michaell Lett and Roselyn Oxley Gallery 2011. Roslyn Oxley Gallery. Queensland Contemporary Art. 7.https://robertleonard.org/8.https://www.amazon.com/Rich-Man-Poor-Beggarman-Thief-ebook/dp/B00GSE3XO9. https://www.artgallery.nsw.gov.au/artboards/duchamp/duchamps-legacies/item/9vvco0/10. https://www.google.com/search?q=to+ker+tailor+soldier+sailor&rlz=1C9BKJA_enNZ734NZ737&oq=to+ker+tailor+soldier+sailor&aqs=chrome.69i57.7189j0j4&hl=en-GB&sourceid=chrome-mobile&ie=UTF-8 11. Refer Philadelphia Museum. https://www.philamuseum.org/objects/54149*; https://en.wikipedia.org/wiki/Tinker,_Tailor11a.https://offscreen.com/view/tinker-tailor-soldier-spy12.Michael Parekowhai. The Promised Land. 12a. https://christchurchartgallery.org.nz/collection/2011-250/michael-parekowhai/cosmo-mcmurtry https://www.stuff.co.nz/the-press/christchurch-life/72706271/how-christchurch-went-from-culling-rabbits-to-a-quiet-public-art-renaissance**13. Michael Parekowhai - Art & Prints for Sale | Artsy
------------------------------------------------------------------------------Footnotes.New Zealand Herald. January 17.2017https://www.newsroom.co.nz/2018/06/08/114112/toi-arts-cage-rattling-futurLighthouse 2017.
Sculptor Michael Parekowhai's $1.5 million work entitled The Lighthouse, designed to look like a classic Kiwi state house. Parekowhai placed 10 small chandeliers representing the stars of Matariki, which guided early Maori navigators. **See the Rabbit. 2002. story. The exclusion of the Parekowhai Inflatable Rabbits was the beginning of SCAPE public Art. Canterbury Museum director, Anthony Wright, was furious that these sculptures were rejected by the city council.https://www.stuff.co.nz/the-press/christchurch-life/72706271/how-christchurch-went-from-culling-rabbits-to-a-quiet-public-art-renaissance
* Philadelphia museum text on the Bridge Stripped bare
In the fall of 1912, Marcel Duchamp abandoned conventional painting and set about inventing new ways of working as an artist. Soon he was planning The Large Glass, and in 1915 he embarked on the eight-year process of fabricating the monumental construction. It is a compendium of Duchamp’s artistic obsessions: sexuality, chance, machines, humor, language games, and the workings of pictorial illusion. In the upper half of the picture, the Bride, a machine-insect hybrid, disrobes and exudes an erotic perfume. Permanently cut off from her in the lower zone are nine mannequin-like Bachelors, who respond by producing their own sexual gases which are then processed through an assortment of mechanical devices.
At an unknown point in the late 1920s or early 1930s, the fragile piece partially shattered in transit. Duchamp restored the sculpture in 1936. He later declared the symmetrical pattern of cracks an improvement. In 1954, he helped to oversee the work’s permanent installation at the Philadelphia Museum of Art.
At an unknown point in the late 1920s or early 1930s, the fragile piece partially shattered in transit. Duchamp restored the sculpture in 1936. He later declared the symmetrical pattern of cracks an improvement. In 1954, he helped to oversee the work’s permanent installation at the Philadelphia Museum of Art.